cca framing the future
Post on 25-Jul-2016
220 Views
Preview:
DESCRIPTION
TRANSCRIPT
CALIFORNIA COLLEGE OF THE ARTS
MISSION AND VALUESMISSION_ California College of the Arts educates students to shape culture and society through the practice and critical study of art, architecture, design, and writing. Benefiting from its San Francisco Bay Area location, the college prepares students for lifelong creative work by cultivating innovation, community engagement, and social and environmental responsibility.
VALUES_ As an educational and cultural institution, CCA believes in fostering the artistic and academic excellence of our students and faculty. We cultivate intellectual curiosity and risk taking, collaboration and innovation, compassion and integrity. As a global citizen and a good neighbor, CCA believes in its role as a proponent of social justice and community engagement. We promote diversity on our campuses by improving access and opportunities
for underrepresented groups, and we see this endeavor as vitally enriching for everyone. We value sustainability and believe that as a school of the arts we have a unique ability and an ethical responsibility to shape a culture that is more environmentally responsible. We understand the importance of creative economies and the role of artists, designers, architects, and writers in solving social, cultural, environmental, and economic problems.
CALIFORNIA COLLEGE OF THE ARTS
OUR STRATEGYThis document is a road map for shaping the future of California College of the Arts. It comes at an important point in the college’s history—a time when it is experiencing significant opportunities and challenges. These include our own ambition to embrace next-generation educational pedagogy and programs; changes in regulatory requirements in higher education; evolving market demand; new technologies; the economic growth of San Francisco and the greater Bay Area; and a prioritization of long-range sustainability in all its forms—environmental, social, financial.
For more than a century California College of the Arts (CCA) has educated young creative people to become problem-solvers, trailblazers, and entrepreneurs, while embracing our values of social responsibility, diversity, and academic excellence.
We now have a once-in-a-lifetime opportunity to make a fundamental change that will allow us to redefine arts education for the 21st century. We want to bring together our two campuses to create a unified, innovative, and vibrant institution in San Francisco that will have a powerful and lasting effect on cultural, social, and environmental issues.
Our goal in implementing this change, however, is not to reshape CCA’s core mission and educational ideology. Rather, we strive to reaffirm our powerful founding legacy in the Arts and Crafts movement, to amplify the college’s reputation for diverse practice, and to promote the distinctive educational model that has defined a CCA education for over 100 years.
Strategic Framework for Campus Planning
In June 2015, we completed the first phase of a long-range plan—a strategic framework to develop a path to CCA’s future. The yearlong process involved faculty, students, staff, alumni, and trustees, and built on our previous work in academic planning. This publication documents the process and presents findings and recommendations, which focus on key areas such as student experience, housing, and financing.
From Two Campuses to One
During the planning process, we confirmed that one of our greatest challenges is CCA’s two-campus structure and its effect on teaching and learning inside and outside the classroom. The physical divide that currently separates our community of makers presents social, logistical, and most importantly, pedagogical challenges.
Bringing our academic programs together would have far-reaching benefits. It could significantly increase synergies among disciplines; allow us to build new, improved, and integrated facilities for making, learning, and living; and increase connections among CCA community members and with leading practitioners, industries, and supporters outside the college.
A Moment To be Bold
The steps we are taking today will prepare us for the future and position CCA to take advantage of opportunities that we couldn’t even have imagined as recently as five years ago. This is a moment for CCA to be bold. We are in the right place, at the right time, with the right values and educational model.
Sincerely,
Stephen Beal
LETTER FROM THE PRESIDENT
ES_EXECUTIVE SUMMARY
1.0_OUR OPPORTUNITY
2.0_OUR CONTEXT
3.0_OUR CULTURE
4.0_OUR PROCESS
5.0_OUR APPROACH
ES.1 THE FUTURE OF HIGHER EDUCATION
1.1 A UNIQUE MOMENT
2.1 FOUNDING VISION
3.1 ACADEMIC PLAN THEMES
4.1 PLANNING PROCESS
5.1 WE HAVE MANY OPTIONS
ES.2 TWO CAMPUSES
1.2 A THINKING AND MAKING CURRICULUM
2.2 THE CHANGING LANDSCAPE OF HIGHER EDUCATION
3.2 LEARNING HAPPENS EVERYWHERE
4.2 STAKEHOLDER ENGAGEMENT: REID EXERCISE
5.2 CAMPUS PLANNING
ES.3A UNIFIED CCA
1.3 AN AGILE INSTITUTION
2.3 LOCATION, LOCATION, LOCATION
3.3 MAKING IS FOUNDATIONAL
3.4 LEVERAGE RENEWABLE RESOURCES
3.5 TAKING THE LEAD IN THE DIGITAL REVOLUTION
3.6 THEN AND NOW
5.3 FINANCING AND REAL ESTATE
5.4 GLOSSARY
“We can’t solve problems by using the same kind of thinking we used when we created them.”Albert Einstein
ES _ EXECUTIVE SUMMARY
CALIFORNIA COLLEGE OF THE ARTS
ES.1_THE FUTURE OF HIGHER EDUCATIONHigher education in the United States is at a crossroads.
On one hand, this country’s model of higher education—with its flexibility, broad range of opportunities, and accessibility for people of all ages and economic backgrounds—is much envied and emulated around the world.
On the other, each day seems to bring a government report or news piece questioning the effectiveness of higher education. Escalating costs, pressure to tie curriculum and programs directly to “gainful employment,” growing concerns about low graduation rates, high levels of student debt, questions about assessment, and the proliferation of online and for-profit schools—these issues have fueled questions about the purpose and value of a college degree.
Add to that the dramatic changes in the demographics of students entering college, and their demand for more concentrated, specialized, customized experiences, and it is clear that we need to be nimble and smart going forward.
Interdisciplinary, collaborative, diverse, project-based, and inclusive—this is the learning environment we strive to create at CCA. It also describes the evolving workplace our graduates are entering.
Art schools such as CCA offer a particular approach to education that is focused both inward and outward. We strongly encourage personal growth and creative exploration while promoting the development of specific skills and deep knowledge.
There is a growing demand for creative people across a broad range of industries. Employers that have traditionally looked solely to graduates of large research universities are now also seeking artists and designers who bring to the table an entrepreneurial spirit, unique problem-solving skills, and a hacker/DIY mentality.
ES _ EXECUTIVE SUMMARY
CALIFORNIA COLLEGE OF THE ARTS
ES.2_TWO CAMPUSESSince it was founded in 1907, CCA has evolved and expanded in terms of pedagogy, student population, programs, and disciplines, as well as in the diversity and extent of the community we serve. That agility has allowed us to maintain our relevance. We have changed our name four times since 1907. Our campus configurations have gone from one campus to two to three, and back to two.
Today, our two campuses have distinct functional, organizational, and program-based identities. Both have a long history of supporting makers and designers, but the fact that our community is divided impedes our ability to truly dissolve the boundaries between disciplines and create an environment that encourages new ways of making through hybridity and multidisciplinarity.
Furthermore, the Oakland campus itself makes crossing boundaries and sharing knowledge difficult. The site is small, and it is physically segmented into discipline-specific areas. To try to change it to meet our needs would require breaking much of what we hold dear about it.
Simply adding a new wing to our San Francisco campus is also not the right solution. It would not produce the crossing points, serendipitous exchanges, or green space we seek.
CALIFORNIA COLLEGE OF THE ARTS
ES _ EXECUTIVE SUMMARY
ES.3_A UNIFIED CCAOver the past year, members of the CCA community have been involved in a discussion about our future.
As a direct result of these conversations, a greater degree of cross-fertilization among programs and student services has already developed. Shops on the two campuses began collaborating, faculty started testing new multidisciplinary studios combining the fine arts and design, and we collectively prioritized more than ever a dense, shared experience that involves both structured and spontaneous interactions.
The ultimate goal of the discussions is to imagine a new platform for an arts education in the 21st century. We have concluded that returning to a single-campus model is the key to maximizing flexibility, opportunities, and learning experiences for our students.
“CCA is in the enviable position of being able to redefine what an art and design educational institution looks like in the 21st century.”Steve Beal, President
1.1_A UNIQUE MOMENTVery rarely in an institution’s history does it have the opportunity to pivot in a way that makes its mission both more relevant and more sustainable.
Remarkably, the Bay Area has seen this happen more than once in recent years. The Exploratorium moved to the waterfront and expanded. UCSF created a whole new community, Mission Bay. The California Academy of Sciences and the de Young scrapped their buildings and started over. And SFMOMA acquired adjacent land to more than double its size.
CCA’s trustees provided the college with a similar capacity to change when they secured one of the last large parcels of land in San Francisco, immediately next to the existing campus. We were then able to create an Art and Design Educational Special Use District that combines the two parcels.
CCA now has the ability to bring everything together in one location—one with flexible teaching and learning environments, energy-efficient equipment and buildings, affordable net-zero housing, and resilient landscaping and living roofs.
A MOVING STORY_
“At Pixar, the two campuses were so dramatically different. Point Richmond was treated by Pixarians much like a messy college dorm —scooters in the halls, video games, huge props and objects laying around. When we moved to Emeryville, here was a brand-new, bespoke building—Steve Jobs’s personal pride and joy. That left us feeling excited about having our very own modern space and yet totally freaked out that it would lack the mojo, the personalization, and the vibe of the old Point Richmond campus. Instead, the facility became immediately ‘lived in’ and shaped by the Pixar community into a contemporary environment incorporating both messy and fun workspaces.”
Jay Ward (BFA 1993), Pixar
CALIFORNIA COLLEGE OF THE ARTS
1.0 _ OUR OPPORTUNITY
1.2_A THINKING AND MAKING CURRICULUMCCA strives to offer an art and design education with a distinctive structure and style.
Our students, regardless of their choice of major, engage in project-based learning. They practice integrative, team-centered thinking and build their ideas through iterative, progressive modeling. They gain empathy, and an appreciation for how different disciplines bring distinct approaches to solving complex real-world problems. They learn to focus their creative ideas and to make art that matters—not just within the boundaries of our campus, but also out in the world.
Art and design students learn within a culture of critique, where they present their creative work to peers, faculty, and outside experts in a public forum.
Feedback is not confined to private comments from teacher to student through an end-of-term paper. Rather, it is direct and continuous, in a forum of diverse and sometimes conflicting views and opinions.
CALIFORNIA COLLEGE OF THE ARTS
1.0 _ OUR OPPORTUNITY
“THIS IS THE CITY OF ‘YES!’ AND OF ‘WHY NOT?’” Dr. Jonathan Foley, California Academy of Sciences
1.3_AN AGILE INSTITUTIONIn the past, CCA did not have the benefit of operating within a comprehensive planning framework. Nonetheless, the college has consistently subsumed opportunities for improvements to advance its mission. We’ve added new programs; acquired facilities and real estate; formed local, national, and international partnerships; and filled faculty positions through national searches.
Going forward, our goal is to have a comprehensive planning scenario in place for CCA to strategically grow, adapt, and embrace mission-aligned opportunities.
How might we create a net-zero- carbon college?
How might a tool for this be used for that?
How might a student design their own CCA experience?
How might student housing be made more affordable?
CALIFORNIA COLLEGE OF THE ARTS
2.0 _ OUR CONTEXT
2.1_FOUNDING VISIONFrederick Meyer founded CCA in 1907, one year after the 1906 earthquake and fire devastated San Francisco. At our very genesis, then, an entrepreneurial vision and resiliency underscores CCA’s ethos. Meyer was a strong proponent of the Arts and Crafts movement, which sought to connect art to social, political, and economic issues as a means to solve problems and make a positive contribution to the community. It was a time of rebuilding and rebirth in San Francisco, and Meyer was at the forefront.
Today, as the role of creativity in our society and economy is increasingly recognized and valued, CCA’s founding ideals have never been more relevant. Artists, designers, architects, and writers play a critical role in addressing societal challenges and have become leaders in a culture that relies on the marriage of technological innovation and creative content. Like the Arts and Crafts movement of the early 1900s, San Francisco is in the midst of another zeitgeist, and Meyer’s legacy is perfectly positioned to deepen its ties to the community and be impactful.
2.0 _ OUR CONTEXT
CALIFORNIA COLLEGE OF THE ARTS
“EDUCATING THOSE WHO CAN DO.” Frederick Meyer, Founder of CCA
2.2_THE CHANGING LANDSCAPE OF HIGHER EDUCATIONWe are living in times of dynamic disruption in higher education. Students today have new expectations, interests, degrees of preparedness, and perspectives on education and career. As we look ahead to the future of CCA, we must consider our students.
At the national level, nearly one third of entering first-year undergraduates are first-generation college students, and of these, almost one quarter are low income. Racial and ethnic composition is rapidly evolving; as economies have globalized and access to wealth has increased, there has been a rise in the international student population.
Students are demanding more options and greater flexibility in how their courses are structured. As a result, the traditional model of college is changing: low-residency programs, accelerated-degree options, certificate and part-time programs, and online learning are proliferating at all types of colleges and universities.
To sustain our position as an arts education leader, we must continue to build on our core strengths: innovative programming, talented faculty, connections with industry, and a world-class location. We must also respond to changing student demographics, evolving learning styles, and the enormous changes in contemporary art and design practice.
For us to attract and retain a diverse student body and world-class faculty, and continue to forge connections between industry and academia, we need to introduce innovative new program models and design new campus spaces for them to inhabit.
CALIFORNIA COLLEGE OF THE ARTS
2.0 _ OUR CONTEXT
2.3_LOCATION, LOCATION, LOCATIONWhere a student receives their education is key. CCA is at the epicenter of a regional hub of creativity and innovation. We’re in the right place at the right time.
The San Francisco Bay Area is a global center of innovation and creativity, defined by entrepreneurship, sustainability, and social activism, as well as design and technology. Our region is home to thousands of new start-ups, and some of the most prominent tech firms in the world: Google, Apple, Facebook, Yahoo, Adobe, Intel. The Bay Area is experiencing stronger connectivity through foreign direct investment, links to other technology regions, large numbers of international students at our colleges and universities, and a globally diverse population that serves as an important business and cultural bridge.
Concentrating CCA in San Francisco will give us better access to some of the world’s most creative teaching talent as well as an increased ability to forge connections with Bay Area corporations, arts and cultural institutions, nonprofits, and other world-class educational entities. It will also provide a remarkable link to the global community, and a place-based cultural identity that stands out in the competitive global and domestic marketplace.
.
INNOVATION CORRIDOR_ Located in an area recently described as the “Innovation Corridor,” our San Francisco campus is poised to play a key role in the rise of one of the last still-underdeveloped areas of the city. The campus occupies a strategic position between the new biotech and medical research area anchored by UCSF’s Mission Bay campus and the Showplace Square Design District with its many design firms, start-ups, and larger tech companies. Enhancing the lively neighborhood and relations between CCA and the dynamic industry already surrounding us is a key component of our mission and critical for our success.
CHANGING FACE OF THE NEIGHBORHOOD_ When CCA first purchased the Greyhound building in San Francisco in 1995, the neighborhood was characterized by light manufacturing, and there were many underdeveloped parcels. Much has changed in the past 20 years, and CCA has played an instrumental role in shaping these changes. The acquisition and renovation of several buildings; the daily presence of hundreds of students, faculty, and staff; the continued growth of our academic programs; and the wide array of programming open to the public—all of these have contributed to transforming the area into a vigorous urban campus environment.
GAME-CHANGING ACQUISITION_ The recent purchase of the two-and-a-half-acre adjacent lot was a game changer for CCA—it is allowing us to explore bringing together the Oakland and San Francisco programs in one location. We envision a sustainable campus with technologically advanced art and design studios, student housing, restaurants and other retail activity, green space, community space, and “incubator” facilities to nurture our creative relationships with community, academic, cultural, and industry partners.
SAN FRANCSICO
SILICON VALLEY
1 Adobe
2 Airbnb
3 Ammunition
4 Asian Art Museum
5 Autodesk
6 California Academy of Sciences
7 Contemporary Jewish Museum
8 de Young Museum
9 Dolby Labs
10 Dropbox
11 Exploratorium
12 frog design
13 fuseproject
14 Gap Inc.
15 Gensler
16 Hot Studio
17 Legion of Honor
18 Method
19 Mexican Museum
20 Museum of African Diaspora
21 Museum of Craft and Design
22 Nurun
23 Sega
24 SFMOMA
25 Square
26 Steelcase
27 Stumbleupon
28 Twitter
29 Wired Magazine
30 Yelp
31 Yerba Buena Center for the Arts
32 Zynga
OAKLAND
Jump Associates
Oakland Museum of California
The Crucible
Pandora
Tippett Studio
Pacific Film Archive
Berkeley Art MuseumenvelopeA+D
Pixar
Ask.com
Swarm Gallery
Pro Arts
Hewlett Packard
IDEOTesla
Yahoo eBay
Intel
Apple
Cantor Center for the Visual Arts
San Jose Museum of Art
17
8 4
23
7
11
30
25
26
27
29
15
14
10
3
22
20
19
16
24
31
2
1
28
18
5
21
9
12
13
32
6 OaklandCampus
San FranciscoCampus
“A new campus could merge the patina of the Oakland campus with the transparency of the San Francisco campus. Students should walk in and have a natural understanding of the place that is consistent with our ethos.”Faculty member during the planning process
CALIFORNIA COLLEGE OF THE ARTS
3.0 _ OUR CULTURE
3.1_ACADEMIC PLAN THEMESThe development of CCA’s Academic Plan in 2014 came at an important point in the college’s history—a time of key decisions around location, growth, competition, sustainability, and dynamic change in higher education, including opportunities and challenges specific to art institutions. The Academic Pathways Plan sought to respond to a wide range of trends that are influencing our educational model.
KEY PRINCIPLES_
Increased desire for flexible, personalized education options
A more interdisciplinary education that blurs borders
A growing desire on the part of our students, faculty, and staff for social impact that connects art and design to civic service and social justice
More diversity initiatives in pedagogy and practice
Expectations for ecologically responsible, sustainable design
Partnerships and relationships that diversify programs and revenue sources
Increase in international student population
Substantial new thinking about how to define and provide the creative leadership necessary for the betterment of society
1_SAN FRANCISCO BAY AREA_ CCA sees its Bay Area location as a nexus of flexibility, freedom, transdisciplinarity, a climate of innovation, and a willingness to challenge existing models. This ethos and emphasis should be applied across all programs.
2_RISK AND EXPERIMENTATION_ CCA embodies a culture of experimentation, risk taking, and challenging the status quo, both within the curriculum and outside in co-curricular and external activities.
3_SOCIAL JUSTICE_ Since its founding at the height of the Arts and Crafts movement, CCA has recognized that the arts are deeply connected to society. Art, design, and architecture can be both a lens and a vehicle for social and environmental justice.
4_TECHNOLOGICAL INNOVATION AND CRITIQUE_ CCA acknowledges that technology is embedded across the entire life cycle of creative work, from ideation to construction to distribution. The college takes particular pride in its function as a platform to critique technology from an ethical framework, as well as to harness its power to improve lives and get things done.
5_HYBRIDITY AND INTERDISCIPLINARITY_ CCA values its depths and strengths in the fine arts, craft, design, and architecture. But all disciplines are enhanced by interdisciplinary interactions, and we are committed to fostering hybridity as a value in critical contemporary culture and the creative economy.
6_EXTERNAL EDUCATION_ A highlight of academic life at CCA is access to external learning opportunities. The educational experience we offer is deeply rooted in the Bay Area, and our students become local and global citizens as they grow their values and professional skills.
7_COLLABORATIVE COMMUNITIES_ CCA educates collaborative, creative change makers who can navigate an increasingly technology-driven society and marketplace. Few creative leaders work alone. Collaboration—among both students and faculty—is more important than ever as a key skill for social change, culture creation, and economic success.
SEVEN THEMES FOR A UNIFIED CAMPUS
CALIFORNIA COLLEGE OF THE ARTS
3.0 _ OUR CULTURE
3.2_LEARNING HAPPENS EVERYWHEREStudents engage in a variety of ways throughout the day, in a range of environments. It can happen in the studios, the labs, student housing, hallways, outdoor spaces, and the city at large.
LEARNING BY DOING _ CCA provides a variety of space typologies: formal instructional spaces, informal “safe failure” zones for experimentation, and multi-zone spaces that offer settings for different activities. All of these environments should have the flexibility to evolve over time.
LEARNING THROUGH ADJACENCIES_ Even passive exposure to different disciplines is an opportunity to encourage learners to imagine dynamic new relationships among subjects, media, and creative processes. Adjacencies enable interdisciplinary interactions that can be deliberate or serendipitous.
LEARNING MADE VISIBLE_ We aspire to create “teaching buildings” by putting processes and outcomes on display whenever possible. Increasing the transparency of instructional spaces, shops, and studios sparks interest across subjects and disciplines. Building design and engineering can and should tell stories about sustainability and responsibility, and promote engagement with the physical environment.
CALIFORNIA COLLEGE OF THE ARTS
SECTION TITLE _ SECTION NUMBER
CALIFORNIA COLLEGE OF THE ARTS
3.0 _ OUR CULTURE
3.3_MAKING IS FOUNDATIONALMaking is foundational at CCA. It distinguishes our pedagogy from that of a liberal arts college or a research university. We focus on project-based learning, where the project is a physical or virtual creation.
Learning in this manner is powerful and not easy to achieve without specialized spaces, equipment, and tools, and of course the right people.
Our commitment to this type of pedagogy is unwavering. In fact, this plan calls for vigorously increasing that commitment to project-based learning and our spaces should reflect that.
CALIFORNIA COLLEGE OF THE ARTS
3.0 _ OUR CULTURE
3.4_LEVERAGE RENEWABLE RESOURCESWhile CCA has created new and renovated college facilities that are LEED Platinum certified and have won numerous green awards, many aspects of art and design practice everywhere continue to be chemically toxic, energy inefficient, and resource intensive.
The intention of this plan is to create a path toward physical conditions that have a minimal or positive impact on the planet. The equipment, tools, materials, and behaviors in which we engage must be wholly rethought. Why can’t the heat from a hyper-insulated, ultra-efficient glass furnace or ceramic kiln be captured for other uses? Must a hazardous or environmentally challenging methodology continue to be accepted practice simply because it is traditional, or can we invent new ways of working? How might we embed a sustainable, responsible, cradle-to-cradle mentality in every course description?
3.5_TAKING THE LEAD IN THE DIGITAL REVOLUTIONTechnological innovation has fundamentally changed how human beings interact and express their creativity. We discover, express, and experience information differently as a result. Today, learning happens anywhere and everywhere as education, like many other aspects of our lives, has become mobile, personalized, and social. Technology enables students and instructors to transcend the physical and temporal boundaries of campus facilities, and empowers students to create on their own schedules at their own pace using resources that are available 24/7.
For example, a small 3D printer on an industrial design student’s desk can print footwear prototypes on demand. All the software an art and design student needs is now available from the Cloud. Images and film clips can be shared in entirely new contexts, where they gain new meanings.
Technology is helping to shape emerging values, in which flexibility is a core and vital component of learning. These values are embodied in the work, life, and attitudes of contemporary art and design practices. And our students are the next generation of thought leaders in this respect.
“As much as we would like culture to drive technology, technology is equally driving culture. Students arrive at CCA with notions of what technology should do for them and how they should control that interaction.”Mara Hancock, CCA CIO
CALIFORNIA COLLEGE OF THE ARTS
3.0 _ OUR CULTURE
3.6_THEN AND NOWLINEAR STUDENT SCHEDULE_ The traditional model of learning was linear—scheduling students sequentially throughout the day.
GROUP WORK
ASSIGNEDPROJECT
SCHEDULEDCLASS
MEALS
OFF-CAMPUSFUN
ECOLOGY OF EXPERIENCES_ Today, that schedule must be more fluid to meet their learning profiles, influences, externalities, and the very real changes in the way these learners acquire knowledge.
GROUP WORK
ASSIGNEDPROJECT
SCHEDULEDCLASS
MEALS
CONFERENCECALLS
WORK
FAMILY
OFF-CAMPUSFUN
CALIFORNIA COLLEGE OF THE ARTS
4.0 _ OUR PROCESS
4.1_PLANNING PROCESSIn January 2014, CCA engaged the firm Gensler to lead our long-range campus development planning process. With Gensler as our primary consultant, we engaged the firm MK Think to assist in providing core strategic services related to spatial analytics. These planning partners helped lead CCA to develop a forward-thinking strategy.
INVESTIGATION PHASE_ The investigation phase was launched formally in May 2014 with all program chairs. The Executive Committee of the Faculty Senate, working closely with the Provost, appointed a Faculty Campus Planning Committee to work with our consultants over the summer. These sessions included group discussions on benchmarking, spatial typologies, scenarios, and affinity mapping exercises. This led to a set of guiding principles building on prior institution-wide planning efforts (CCA’s Strategic Plan and Academic Pathways Plan).
Parallel to this work, MK Think began an in-depth process of data collection and analysis. This involved the validation and evaluation of all the existing facility data for both campuses. The analytics helped frame the key issues and opportunities available to the college through the development of a comprehensive asset/space inventory and database management system, a spatial mapping analysis, and a utilization and occupancy analysis.
CONVERSATION AND DEFINITION PHASE_ Broad input from the range of college stakeholders was key to successfully developing CCA's long-range development strategy, with faculty playing a central role. Over the course of a year, meetings and broader forums
took place that provided opportunities for representatives from the CCA community—students, faculty, staff, trustees, and alumni—to contribute to this process.
Stakeholder engagement began with asking all faculty to reflect on both the Oakland and San Francisco campuses and identify spaces, ideas, qualities, or activities they would like to retain, enhance, introduce, and discard in considering a new campus. In this R.E.I.D. exercise, more than 1,600 data points were gathered from faculty across all programs and disciplines, allowing the Gensler team to begin affinity mapping across the college.
Interdisciplinary faculty focus groups engaged in discussions centered on the future of art and design education and what systems, environments, resources, and relationships will be needed to make these shifts. Staff, student, and alumni groups engaged in discussions around the future of making/education/practice and the tools, spaces, infrastructure, and technology needed to best support our students and faculty. The Board of Trustees was also deeply engaged throughout the process, in particular around real estate considerations, long-term development issues, and financial impact.
CCA COMMUNITY ENGAGEMENT_
3 Faculty Campus Planning Committee Meetings
1 Faculty Senate Meeting
2 Senior Cabinet Retreats
1 Department Chair Meeting
1 All-Faculty Meeting
7 Faculty Focus Group Meetings
5 Staff Focus Group Meetings
1 Alumni Focus Group Meeting
2 Student Focus Group Meetings
2 All-Student Engagements
4 Board of Trustees Meetings
3 Board Facilities Committee Meetings
20 Campus Planning Leadership Meetings
MAY 2014 INVESTIGATE
Introduce
AUG 2014 CONVERSE
Frame
Inform
NOV 2014 DEFINE
Guide
Vision
JAN 2015 DOCUMENT
Draft LRDS Recommendations
LONG RANGE DEVELOPMENT STUDY_
4.0 _ OUR PROCESS
CALIFORNIA COLLEGE OF THE ARTS
4.2_STAKEHOLDER ENGAGEMENT: REID EXERCISE
RETAIN
INTRODUCE
15.8% Campus Amenity/Culture_ Walking paths to make it feel more like a campus. Deep commitment to sustainable practices
11.9% Faculty Space/Life_ More opportunities for faculty socialization and collaboration
Interdisciplinarity 7.4%
Pedagogy 7.4%
Fitness/Health 6.1%
Lecture/Performance Space 5.1%
Student Space/Life 5.1% Communal Space 4.8% Library 3.5% Display 2.9% Book/Art Supply Store 2.6% Community Engagement 2.6% Technology 2.3% Flexible Space 1.3%
10.6% Making
10.6% Other
35.4% Community Spaces_ Open, communal spaces for mixing hybridity, communal thinking, and doing
13.6% Heritage/Culture/History/Tradition_
Transportation 1.8%
Collaboration 1.8%
Intimate/Private Spaces 2.7%
Technology 3.0%
Flexible Space 3.5%
Architecture 6.7%
Making/Learning Space 8.8%
Campus/Neighborhood Link 11.2%
Other 11.5%
ENHANCE
DISCARD
Interdisciplinary 2.6%
Display 3.3%
Facilities/New Technology 2.6%
Campus Character 6.6%
Other 7.1%
Acoustics/Ventilation/ Lighting/Storage 9.1%
Greener/Outdoor/ Recreation Space 2.2%
Neighborhood/ Urban Integration 2.0%
Community Space 13.2%
17.6% Transportation_ Ease of transport (BART, shuttles, parking, etc.)
15.0% Faculty Space_ Faculty offices, workspaces, and dedicated studios
14.5% Making/Learning Space
Food/Cafe 3.7%
Transportation 2.4%
Bureaucracy/Administration 4.3%
Faculty Issues/Space 4.3%
Web Interface 3.0%
Making 4.9%
Meetings 5.5%
Obsolete Space/Equipment 6.1%
Aesthetics 5.5%
Two Campuses/ Divide/Dualism 6.7%
14.0% Other_ Disconnection to neighborhood
13.4% Acoustic Issues_ Noisy co-ceiling spaces
6.7% Climate Control
7.3% Social Issues/Values/Culture
7.3% Silos/Isolation
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
5.1_WE HAVE MANY OPTIONSAt the start of our long-range development strategy process it was not clear how or if it might be possible to bring together our academic programs on one campus. There seemed to be so many unknowns and possible obstacles. So much history, tradition, patina, and identity are bound up in the legacy buildings and grounds that we have occupied.
What has become clear as a result of this process is that CCA has the opportunity and many more choices for how to get there. We are rich in tradition, mission, human ingenuity, knowledge equity, real estate, partners, and ability to be nimble. We already have employed growth and reinvention strategies to create innovative new academic programs, as well as affordable student housing.
Our path forward will be one of inventive and exciting initiatives that are realized in a multitude of ways, leading to a clear vision of the most sustainable and engaged art school of the 21st century.
SAN FRANCISCO TODAYIn 1985 when the college’s Board of Trustees led the creation of a San Francisco campus in leased space at 17th and DeHaro, the Showplace Square neighborhood was a quiet light industrial area with a wholesale design showroom center as the only sign of activity.
Thirty years later we find our campus at the epicenter of an innovation zone, where whole new venues for medical research, education, the arts, design, technology, business, and culture have been created. While some of this neighborhood transformation can be tied to our active presence, the forces amplifying and quickening its pace are larger than CCA.
Mission Bay was made a redevelopment area, with UCSF obtaining land for a new campus; Silicon Valley companies saw San Francisco as an innovation and talent hub; Showplace Square was
rezoned, and CCA acquired the former Greyhound Bus maintenance building as the first step toward a permanent campus.
Today there are tower cranes all around us, and the pace of change will only continue to accelerate. Coming improvements may include high-speed rail, the demolition of a portion of I-280, a new Warriors arena, a future BART crossing, and additional housing.
We could not be better positioned to maximize our impact and visibility.
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
2006
Campus Feasibility Study
2007
Land acquisition offer
Student housing coalition
5.2_CAMPUS PLANNINGWe have been preparing for this moment for ten years. At its 2006 board retreat, CCA’s Board of Trustees focused the college’s administration on two big priorities for our San Francisco location: creating student housing and making an effort to acquire adjacent land and buildings.
Soon it became clear that the reason no developers were building student housing in San Francisco was that the regulations created disincentives for that use. With the help of the SF housing Action Coalition, we banded together with UC Hastings and a few other nonprofit colleges to get legislation sponsored and enacted that created a definition of student housing and removed the roadblocks to its creation. That effort took three and a half years. Shortly thereafter we signed an agreement for the first new student housing to be built in the city. That facility, The Panoramic, is now open at 9th and Mission streets.
The rezoning of our neighborhood in 2009 created another challenge. In an effort to preserve the light industrial character of our area, it was rezoned for Production, Repair, and Distribution (PDR) uses, making us a non-conforming use. With the unanimous support of the Mayor, the Board of Supervisors, and the Planning Commission, we were able to get legislation passed creating an Arts and Educational Special Use District for all our SF parcels, including the 2.4-acre adjacent lot the Board purchased in 2011. This is a permanent entitlement that not only allows for our educational uses but also creates the ability for us to provide housing for up to 750 students.
2011
Land acquisition completed
2009
Student Housing Legislation
2012
Special Use District (SUD) legislation
introduced
2010
2010–15 Five-Year Strategic Plan
2013
Institutional Master Plan (IMP) accepted
Construction begins on The Panoramic (1321 Mission Street)
Interim student housing lease initiated (38 Harriet Street)
2014
Campus Planning Firms RFQ issued
Temporary use framework launched for back lot
Property valuations completed
Comprehensive review of Oakland Campus
2015
Long-range development strategy
1321 Mission Street student housing opens
2007
Land acquisition offer
Student housing coalition
CALIFORNIA COLLEGE OF THE ARTS
PREFERRED CAMPUS STRATEGYThe site strategy recognizes that for the foreseeable future, the address of the college for transit riders and driven visitors to the campus will remain 1111 Eighth Street. Making and instruction will be consolidated on the site of the former Greyhound building bounded by Irving, Hooper, Seventh, and Eighth Streets in a concentrated core that will maximize the opportunity for collaboration between disciplines and programs.
@ 165 GSF per student (FTE) = 2167 students
For 2,500 students add 55,000 GSF
Maximize development of existing parcels
Leverage neighborhood assets through formal and informal partnerships
Space as platform for the success of CCA
Concentrate making and learning at existing campus core
Retain future agility (phased development of real estate assets)
Use universal structures as long-term sustainable assets
TOTAL GFA (GSF)
1111 Eighth (Main Building) 146,830
184/188 Hooper (Grad Center) 44,800
80 Carolina (Student/Faculty Services) 22,800
350/360 Kansas (Wattis/Perry) 10,040
195 DeHaro (Grad Writing) 2,600
455 Irwin (lease space) 1,700
Existing Total 228,770
184 Hooper (w/housing) -21,800
80 Carolina/195 DeHaro (w/housing) -25,400
Replacements Total -47,200
1111 Eighth 10,000
Infill Total 10,000
New facilities on back lot 90,000
184 Hooper, 1st Floor 20,000
80 Carolina, 1st Floor 20,000
New Construction Total 130,000
150 Hooper (potential) 30,000
150 Hubbell (potential) 6,000
Off Campus Total 36,000
GRAND TOTAL 357,570
5.0 _ OUR APPROACH
EXISTING MAIN
Infill + Repurposed
146,830 GSF
PHASE 1
Maker Space
±90,000 GSF (up to 150,000 GSF)
PHASE 2
Future Reserve
±150,000 GSF
7th St
Eighth St
Berry St
Channel St
Irwin St
Hooper St
Carolina StWisconsin St
Arkansas St
DeHaro St16th St
15th St
80 CAROLINA AND GRAD WRITING
GRAD CENTER MAIN BUILDING
BACK LOT
Hubbell St
Connecticut St
150 HUBBELL150 HOOPER
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
SPACE TYPESHEAVY MAKING SPACES_ These spaces will be distributed throughout the universal structure and prioritize heavy making —that which is big, noisy, dirty, hot, performative, or wet— in high-volume areas and highly connected to building infrastructures on the lower floors. Where possible, these spaces should include the ability to connect freely between indoors and outdoors through the establishment of a maker court.
LIGHT MAKING AND INSTRUCTIONAL SPACES_ These serve uses that are small, quiet, clean, and dry. Because they are more portable in their connections to building infrastructure, they may be more freely distributed throughout a universal structure. These spaces may also be more fungible, being freer to change location on an informal basis in support of new program explorations, and growth and contraction in programs. These spaces may accommodate both studio pursuits and more personal uses.
COMMUNITY SPACES_ These include all the facilities shared by CCA students and faculty—library, food services and dining, and circulation and hang-out spaces. These spaces provide connection points across all elements of our community and provide the ability for CCA to modulate our mix of traditional and nontraditional educational programs.
STAFF WORKSPACE_ Throughout the preparation of this strategy, the bifurcated nature of the administration and support services, as well as their need to adapt their spaces and organization depending upon the time of academic year, were identified as key hurdles to meeting the needs of students, staff, faculty and our community.
ENHANCED CIRCULATION_ Much of our current life is constrained by the distances and apparent lack of interaction among our programs, community, and resources. Throughout the planning process we heard repeatedly of a need for the communal spaces to be highly flexible, to define the character and community at work, during learning, and at play. The Nave in San Francisco and the landscape spaces in Oakland are examples of this. We believe all assignable spaces should be located immediately adjacent to ‘‘thickened’’ circulation space, and that circulation plans should support the functions of those spaces at a range of scales.
OPTIMAL SPATIAL PERFORMANCE_ Spaces that support teaching and learning well
Spaces that allow for serendipitous discovery and interaction
Spaces that allow efficient, safe, high-performance fabrication and production
Spaces that leverage corridors, stairways, lobbies, and infrastructure for interactivity
Spaces that flexibly accommodate various types of making and assembly
Spaces that easily provide privacy, tranquility, and focus
Spaces that encourage dining and discourse with others
Spaces that share resources to support learning and build community
Spaces that take advantage of indoor and outdoor adjacencies
Spaces that have unexpected adjacencies yielding productive interaction
Spaces that display the tools, materials, processes, and products of the arts
Spaces that allow all scales and types of materials to move with ease
Spaces that maximize living and learning opportunities
Spaces that leverage daylighting, renewable energy, and resources wisely
Spaces that incorporate nature
ADJACENCIES AND ATTRIBUTES
HOT COLD
ASSIGNED UNASSIGNED
WET DRY
CLEAN DIRTY
QUIET NOISY
HEAVY LIGHT
SCHEDULED UNSCHEDULED
ON-CAMPUS OFF-CAMPUS
PERSONAL SHARED
CLOSED OPEN
SKILLED UBIQUITOUS
FAST SLOW
FOCUSED SERENDIPITOUS
HIDDEN REVEALED
Hot – ColdWet – DryClean – DirtyQuiet – NoisyHeavy - LightPersonal – SharedClosed – OpenSkilled – UbiquitousFast – SlowFocused – SerendipitousHidden - Revealed
HOT COLD
ASSIGNED UNASSIGNED
WET DRY
CLEAN DIRTY
QUIET NOISY
HEAVY LIGHT
SCHEDULED UNSCHEDULED
ON-CAMPUS OFF-CAMPUS
PERSONAL SHARED
CLOSED OPEN
SKILLED UBIQUITOUS
FAST SLOW
FOCUSED SERENDIPITOUS
HIDDEN REVEALED
Hot – ColdWet – DryClean – DirtyQuiet – NoisyHeavy - LightPersonal – SharedClosed – OpenSkilled – UbiquitousFast – SlowFocused – SerendipitousHidden - Revealed
HOT COLD
ASSIGNED UNASSIGNED
WET DRY
CLEAN DIRTY
QUIET NOISY
HEAVY LIGHT
SCHEDULED UNSCHEDULED
ON-CAMPUS OFF-CAMPUS
PERSONAL SHARED
CLOSED OPEN
SKILLED UBIQUITOUS
FAST SLOW
FOCUSED SERENDIPITOUS
HIDDEN REVEALED
Hot – ColdWet – DryClean – DirtyQuiet – NoisyHeavy - LightPersonal – SharedClosed – OpenSkilled – UbiquitousFast – SlowFocused – SerendipitousHidden - Revealed
Throughout the planning process attention to how students, staff, and faculty occupy space; the experiences they take part in; and the variability of these spaces over time were recurring themes. In order to support a malleability of spatial occupancy and fitness for purpose, we shall seek to simplify the mix of instructional spaces and support the customization of space through a spectrum of attributes, adjacencies, and organization.
SPATIAL ATTRIBUTES_ Defined as the qualities that support the activities that take place within a given space and define it, either continuously or temporarily. Critically, we view these attributes not as binaries, but as spectrums that may overlap and support new fields of study, new program creation, and importantly, the ongoing support and success of the more traditional programs at CCA.
FERTILE ADJACENCIES_ Defined as the adjacencies between uses that produce both ordered and unplanned interactions among individuals, groups, programs, and our broader community. We believe we will be able to enhance our fertile adjacencies by continuing to simplify the
spatial and organizational functions of our community and ensuring they are able to transform over time, for example, from a light making space to a shared studio to an instructional space to smaller focus spaces.
FLEXIBLE ORGANIZATION_ Is defined as the ability to organize ourselves in direct relation to desired outcomes. For example, the spaces that support heavy, noisy, dirty, and hot activities are more typically the heavy making programs. The intersection between these and other programs is critical to our community. The mixing of spatial attributes vertically and with clear visibility to community and shared spaces is critical to our community.
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
GREENING, SUSTAINABILITY, AND MOBILITYGREEN SPACES_ The planning process revealed the value placed on the diversity and interconnectedness of the landscape spaces of the Oakland campus, with its installations and areas that can scale to meet the demands of our community. A redesigned and expanded San Francisco campus provides the opportunity for a richer and more diverse range of landscape and outdoor maker spaces, green roofs, and courtyards that supports the ecology of our community.
DEEP SUSTAINABILITY_ Our existing San Francisco campus is already an exemplar of high sustainability in both our systems and our operations. Like our overall strategy, our attitude toward sustainable building and campus systems must be highly agile in order to maintain our ability to respond to both internal and external stressors. We have the opportunity to
identify and lead in the application of state-of-the-art systems and approaches to our campus. Our goal is a new campus that meets our needs and insulates us from potentially volatile energy and water markets.
TRANSIT-FIRST MOBILITY_ Our campuses are already low-vehicle venues, with high rates of bicycle and transit ridership. A key aspect of our continuing approach will be the reduction of parking on campus to the extent feasible, coupled with the provision of adequate bicycle and other alternative transit modes. We benefit from improvements to the MUNI corridor on Sixteenth Street, and anticipate continuing to do so. A key element of reducing greenhouse gases is our commitment to unifying our campus with both housing and instructional spaces in close proximity to each other, thus reducing dependence on vehicles.
HEALTH AND WELLNESS_ Throughout the preparation of our strategy, the impacts of health and wellness on our community were repeatedly raised across all groups. Our location benefits from close proximity to recreation facilities at Jackson Park and the City of San Francisco’s commitment to improving both bicycle access and public spaces near our campus. We will continue to work with neighborhood groups and the City to further a shared agenda of increased pedestrian and bicycle connectivity as an element of campus health and wellness. The intent is to define campus health criteria that positively impact both our social and educational outcomes.
UBIQUITOUS TECHNOLOGYCCA recognizes that the speed of technological change combined with the flexibility of its unique pedagogy requires an innovative approach. Once relegated to the realm of the computer scientist, technology is now everywhere and used by everyone. It is embedded in the machines we use to design and to make. This means that technology is a core part of the artist’s and designer’s toolkit. Our students should have the skills to redesign these technical tools as necessary in order to express their creative ambition. Everyone is a technologist.
UNIVERSAL LEARNING PLATFORM_ To be as creative, agile, and flexible as possible, CCA is applying the concept of a universal learning platform as a core strategy. This applies to learning spaces—physical and virtual.
The technological infrastructure must be designed to be adaptive and evolving. This universal learning platform provides an advanced foundation on which to amplify the student learning experience, extending and integrating with a student’s personal technology ecosystem, and leveraging the technology tools they bring with them.
To this end, CCA is assembling and integrating a software ecosystem that serves as a kit of software (parts) to be used by students and faculty across disciplines via multiple delivery formats. This ecosystem is composed of several core platforms that can be complemented with an evolving set of integrated and specialized tools.
A VIRTUAL BRIDGE_ To support the personalized needs of our students and faculty, we aim to move data between these systems and aggregate critical information and connections in an interface that is individualized and contextual. Our online spaces need to help navigate the intersections of people’s personal and CCA/professional lives while keeping them as engaged as possible in the dynamism and learning community that is CCA. We see this as a virtual bridge to the school for the entire community—which goes beyond the formal community of staff, faculty, and students—and extends to alumni as well as “friends of” CCA. We have captured this in our CAPES strategy: Connect, Amplify, Personalize, Empower, and Simplify.
These themes serve to guide our thinking about platform decisions and technology investments by being driven by the user experience. CCA is now focusing on improving the user experience and engagement with our organization and our community through our web interfaces, including:
A new student-first ERP system that has been designed around a modern end-user experience while providing better back-office efficiency.
Reinvesting in our network to make it more robust to support the 24×7 connectivity expectations.
Creating a unified database that provides a 360-degree view on engagement with students.
Expanding the instructional technology toolkit and services.
Embarking on design and prototyping of a new CCA portal and the redesign of our public website, cca.edu.
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
HOUSING STRATEGYThe cost of higher education is a challenge for most of the students we serve. Colleges with lower housing costs can be attractive options for students who are concerned with financing their education. All of our urban competitor schools have recognized this and acted on it by providing affordable housing options. Like the art and design schools in New York City, we find ourselves in an extremely high priced housing market where demand far exceeds capacity. Student housing by Craigslist is not an option if we want to be competitive and sustainable.
Therefore this plan calls for a three-pronged approach to increase our supply of student housing.
CURRENT HOUSING PORTFOLIO
OAKLAND 265
Clifton Hall (owned) 120
Irwin Hall (owned) 34
Avenue Apartments (leased) 34
Webster Hall (leased) 77
SAN FRANCISCO 242
The Panoramic (leased, 2025+5) 200
Harriet St. (leased) 42
FUTURE HOUSING PORTFOLIO
SAN FRANCISCO 990±
75 Arkansas St. (2018, ongoing) 240
Hooper St. 350±
80 Carolina St. 400±
Off-campus housing for continuing and graduate students
Near-campus housing for continuing and international students
On-campus housing for first year students
All three housing types are underway. The Panoramic (off campus) is open with 200 beds at 9th and Mission. 75 Arkansas (near campus) is in the planning stages with 200+ beds of apartment style housing. And we are seeking a development team to create first-year housing at 188 Hooper (on campus) .
Connecticut St
Missouri S
t
7th St
8th St
Hooper
St
Channel St
Irwin S
t
Carolina St
DeH
aro St
15th St
Wisconsin S
t
Arkansas S
t
16th St
Rhode Island S
t
Hubbell S
t
Hwy 280
17th St
Berry
St
Alameda St
Jackson Playground
75 ARKANSAS
Near-term housing
Off-site
240 beds
HOOPER
Near term housing
On-site
350 beds ±
20,000 GSF ±
80 CAROLINA
Long term housing
On-site
400 beds ±
15,000 GSF ±
In addition to organizing stakeholder conversations, we asked our community of faculty, staff, students, and alumni to help in developing a visual catalog of best practices related to space, organizational ideas, and behaviors.
Gathering_ Spaces that flexibly accommodate various scales of assembly, but are not as specialized and fixed, or single-use as traditional lecture halls
Retreating_ Spaces that easily accommodate privacy and focus
Dining_ Spaces that support dining alone or with others. Places that have maximized living and learning environments.
Circulation_ Spaces that leverage corridors, stairways, lobbies, and other required infrastructure to support interactivity
Enclosure_ Spaces that take advantage of indoor/outdoor adjacencies to expand activities to the outdoors in various degrees of enclosure
Making_ Spaces that create efficient, safe, high performance fabrication/production
Adjacency_ Unexpected adjacencies that yield productive interactions
Display_ Inventive ways that the tools and materials used and the projects created have been incorporated into the visual and spatial logic of an organization
Materials_ Facilities that have built-in logic to move various scales and types of materials through them
Hundreds of visual examples have been contributed to a collection that is available on the library Vault site and is still open for ideas: VAULT.CCA.EDU/S/SPATIAL-BENCHMARKING
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
UNIVERSAL STRUCTUREMass MoCA embraces the opportunities created by the space.
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
MAKINGHeath Ceramics extends its legacy while adding new capabilities.
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
NATURELick-Wilmerding High School weaves sustainability and nature into and on top of the campus with a roof garden.
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
GATHERINGThe Exploratorium provides many ways to gather throughout the indoor/outdoor spaces of the museum.
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
WORKINGSeattle’s Bullitt Center provides a healthy, productive environment for all staff in an ultra-sustainable building.
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
LIVINGCCA created car-free urban student housing with high-performance materials and low energy use.
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
5.3_FINANCING AND REAL ESTATE
FUNDRAISING & SELF-FINANCING_ We are planning for a capital campaign. CCA is initiating a capacity study to understand the level of interest of our broader community and benefactors to support our aspirations and to identify the magnitude of funding that may be available.
EXTERNAL FINANCING_ These strategies for funding include additional bonding and other borrowing mechanisms. We will continue to monitor the value of our assets and our annual operating budget and seek to minimize the need for additional debt burden. To assess the availability of these funds, we may also begin a bond rationalization strategy that seeks to simplify the bond commitments we have in place.
BRIDGE FUNDING FROM FINANCIAL RESERVES_ Subject to the availability of unrestricted funds, we may be able to self-finance, on a short-term basis, specific components of the campus planning strategy. We believe these funds may be used to support interim strategies, including migration planning, creation of swing and surge space, and other short-term activities.
REAL ESTATE_ A significant outcome of this process has been the realization that the foresight of the Board has endowed the college with significant real estate assets that may be able to support the implementation of our strategy. There are several tactics that we will continue to monitor and evaluate for their impact on the overall financial sustainability of our college. These include:
Equity Contribution_ We will use our equity stake in specific sites as a basis for partnership development, partnerships, lease-back opportunities and other mechanisms. These may be developed on campus, where our current land ownership, supply, and valuations would form a contribution to partnership negotiations.
Sale_ Of particular relevance to our off-campus properties, we will explore sale to third parties, as and when appropriate. These actions will be evaluated for their impact on student life and, in particular, our continuing ability to house our community.
Entitlement (to elevate land value)_ We anticipate the opportunity to entitle our land to receive more development than is achievable given current city zoning regulations. The Back Lot and 80 Carolina have been specifically excluded from our preferred Phase 1 strategy. These sites could offer the greatest opportunity to increase our real estate holdings through upzoning, either by diversifying eligible land uses or requesting additional height and density prior to future partnership and/or sale.
Off-Site Partnering_ Consistent with our evolving business model, we will continue to explore off-site opportunities to support our community. These ventures could present long-term endowment opportunities, either by enlargement of our real estate portfolio or establishment of maintenance and operation funding sources.
Our overarching goal for the strategy process is to define tactics to complete our facilities and reach our organizational objectives without additional debt burdens that would impact our core mission and pedagogy. We have a range of financing and implementation strategies that we can pursue with the prudence, foresight, and leadership of our Board.
We are actively exploring scenarios for the future of the Oakland campus. Our research will help determine how best to use this vital part of our legacy for the benefit of the CCA community. The college is exploring both mission-aligned uses that could involve partnering with another non-profit or for-profit organization as well as alternative uses that could involve lease or sale. We expect to have this work done by the end of 2016, and as we learn more we will share information with the community.
OAKLAND CAMPUS SCENARIOS
CALIFORNIA COLLEGE OF THE ARTS
5.0 _ OUR APPROACH
5.4_GLOSSARYACADEMIC PATHWAYS_
The title of the college’s Academic Plan that
was facilitated by the Napa Group in 2014.
ADAPTIVE REUSE_
Refers to the process of reusing an old site
or building for a purpose other than which it
was built or designed for.
AGILE_
An ability to iterate quickly in a well-
coordinated manner.
ASSIGNED SPACE _
Any space that an individual occupies and
controls, such as a dedicated studio or office.
CAP_
The college’s Climate Action Plan (CAP) on
file with the American College and University
Presidents Climate Commitment.
CLEAN/MESSY_
Clean rooms can smoothly host different
activities from one use to the next; messy
rooms cannot.
CRITIQUE_
A format for discussing ideas and work at
various stages of development so that the
feedback makes the final version better.
DESIGN THINKING_
A formal method for practical, creative
resolution of problems and creation of
solutions, with the intent of improving future
results.
DISTRIBUTED COMPUTING_
An approach to supporting digital tools with
a system that allows learning and working to
occur everywhere, both on and off campus.
DREAM BIG_
The title of the college’s Strategic Plan that
was facilitated by IDEO in 2010.
FERTILE ADJACENCIES_
An approach to locating activities not just
for efficiency or by discipline, but rather for
productive interaction, knowledge sharing,
and other yet-to-be-discovered practices.
FTE_
Headcount enrollment is the number of
individuals who have paid fees and enrolled
in classes. Full-Time Equivalent (FTE)
enrollment is a statement about how many
students taking full study loads would
generate a given number of measured or
anticipated student credit hours.
FUZZY BOUNDARIES_
The overlapping zones of making practices
that have resulted as creative practices
expand and change.
GREEN OR LIVING ROOF_
A roof of a building that is partially or
completely covered with vegetation
and a growing medium, planted over a
waterproofing membrane.
GSF PER FTE_
The number of gross square feet (GSF) on
average that the college provides per each
Full Time Equivalent (FTE) student.
GUIDE BY THE SIDE_
A two-way teaching method that engages the
student as a partner with the teacher in the
learning process.
HYBRIDITY_
A hybrid is something that is mixed, and
hybridity is simply the state of being mixed.
IMP_
The college’s Institutional Master Plan (IMP)
on file with the City of San Francisco.
INTERDISCIPLINARY_
Characterized by the combining of two
or more academic disciplines or fields of
study, creating something new by crossing
boundaries and thinking across them.
INVENTORY_
The volume and characteristics of facilities
used by the college, including their ability to
provide capacity and their current operational
disposition.
LANDSCAPE SPACE_
Those spaces that are outdoors and
characterized by natural elements and
plant materials.
LEARNING EVERYWHERE_
An approach to space, technology, pedagogy,
and accommodations that allows learning
and working to happen easily no matter
where one is on campus, not just in
classrooms or studios.
MAKING_
The making of objects, prototypes, ideas, and/
or meaning through physical and intellectual
research.
LIGHT MAKING_
Fabrication, prototyping, and production
methods that are small in scale and don’t
require oversized materials or elaborate
accommodations. They tend to be table-
top or work bench supported and don’t
necessarily need to be on the ground floor
or have immediately adjacent outdoor work
space.
HEAVY MAKING_
Fabrication, prototyping, and production
methods that are large in scale and require
open floor space, both indoor and outdoor,
for assembly and work areas. They tend
to have large, highly serviced equipment
affiliated with them, which in turn often
requires specialized ventilation, safety, and
other requirements.
NET ZERO_
A building with zero net energy consumption,
meaning the total amount of energy used by
the building on an annual basis is roughly
equal to the amount of renewable energy
created on the site.
NIMBLE_
Quick to understand, think, and take action.
NONTRADITIONAL STUDENT_
The National Center for Education Statistics
(NCES) acknowledges there is no precise
definition for nontraditional student, but
suggests that part-time status and age are
common characteristics. CCA’s low-residency
DMBA students are among those who make
up the 10% of students we define this way.
OCCUPANCY_
The percentage of a room’s seats that are
occupied when it is in use.
OFF-CAMPUS SPACE_
Any off-campus space where activities are
opted into by participants in coordination
with that space’s operator.
OPEN/CLOSED_
Closed rooms have four walls that meet the
ceiling and a door that closes. Open rooms
are missing one or more of these features.
OPEN SPACE_
An unscheduled or unassigned space that
has distributed control.
OUTDOOR WORK SPACE_
A space that may be covered and protected
from wind and rain, where students and
faculty can fabricate work.
PDR-1-D_
The zoning designation for our San
Francisco parcels and those of our
immediate neighbors. It’s equivalent to
a light industrial zone and stands for
Production, Distribution, and Repair,
with a design industries emphasis.
PROJECT-BASED LEARNING_
The foundation of a visual arts education
such as CCA’s. The curriculum uses real
world, theoretical, future, hypothetical,
or self-directed projects as the basis for
learning throughout the curriculum.
RESILIENCY_
The capacity to recover quickly from
difficulties or shocks to the college’s
system and/or the capacity to adapt to
long-term change.
SAGE ON THE STAGE_
A centuries old instructional model of
a teacher transferring knowledge to an
audience of students.
SCHEDULE-ABLE SPACE_
A space is determined to be schedule-able
if its use code description specifies that
classes may be rostered in it.
SCHEDULED SPACE_
A space is determined to be currently
scheduled if its use code description
specifies that its primary function is to hold
rostered classes, or if its auxiliary function
is to hold rostered classes and the course
schedule indicates that at least 10 hours of
formal instruction per week take place there.
SHARED USE SHOPS_
These making spaces incorporate widely
used tools and materials that are common
to many of the making practices across
the college.
SILO MENTALITY_
An attitude found in organizations that
occurs when several departments or groups
do not want to share information, space,
or knowledge with others. A silo mentality
reduces efficiency, creativity, and innovation
and can be a contributing factor to a failing
institutional culture.
SMART CLASSROOM_
Any room that is able to support teaching
with digital tools. These rooms typically
include display technologies like projectors,
flat screens, and speakers in order to support
the students’ and faculty’s portable devices.
SPECIALIZED USE SHOPS_
Those making spaces that are material-,
process-, and tool-specific. These facilities
often require more training than a safety
orientation before they are utilized.
SUD_
The Special Use District (SUD) that
creates the entitlements for the college’s
development of its San Francisco parcels.
SUSTAINABILITY_
Describes systems and processes that can be
maintained indefinitely.
THIRD CAMPUS_
A strategy for conceiving a unified CCA
environment that is neither the current
Oakland or San Francisco campuses, but
rather a wholly new “third campus.”
UNIVERSAL STRUCTURE_
A highly adaptable building frame of
structural concrete construction and high
floor-to-floor clearances, able to handle
large equipment loads and multiple types
of spaces and uses. Historically these have
been the loft buildings that artists, designers
and other creative enterprises like to occupy.
UTILIZATION_
The amount of time that a room is used over
the course of a week, or the percentage of
rooms that are in use at a specific time.
UTILIZATION RATE_
The percentage of a set of rooms in use at a
given time of day.
VIRTUAL CAMPUS_
In addition to the physical places that
define our campus, this is the largely
invisible structure that supports
communication, workflow, knowledge
sharing, and collaboration.
VISIBLE STORAGE_
A strategy of keeping your collection,
prototypes, or process of production in
plain sight even when you’re not formally
displaying or working with (or on) them.
VISUAL BENCHMARKING_
A process of gathering examples of spaces,
adjacencies, and use patterns that are
relevant to our planning process.
WEEKLY ROOM-USE HOURS_
The amount of time a room is scheduled for
use — specifically for rostered classes — over
the course of a week.
WET/DRY_
Wet rooms have easy access to a sink/drain.
Dry rooms do not.
CALIFORNIA COLLEGE OF THE ARTS
ACKNOWLEDGMENTSGENSLER_
Gabriella Folino Kristi Loui
Lewis Knight David Mayman
Karen Kuklin Peter Weingarten
Amy Kwok Adira Weixlmann
MK THINK_
Nate Goore Mark Miller
Chloe Lauer
PRESIDENT’S CABINET_
Stephen Beal, President
Susan Avila, Senior Vice President of
Advancement
Melanie Corn, Provost
Mara Hancock, CIO & Vice President
of Technology
Laura Hazlett, Senior Vice President of
Finance & Administration
Sheri McKenzie, Senior Vice President of
Enrollment Services
David Meckel, Director of Campus Planning
Becky Ruden, Vice President for Marketing and
Communications Strategy
George Sedano, Vice President of
Student Affairs
Jennifer Stein, Vice President of Operations
FACULTY CAMPUS PLANNING
ADVISORY COMMITTEE_
Allison Smith Emily McVarish
James Gobel William Littman
Thom Faulders Corey Jones
Chris Johnson Deborah Valoma
ACADEMIC DEANS_
Jonathan Massey, Architecture Dean
Leslie Roberts, Design Dean
Tammy Rae Carland, Fine Arts, Dean
Juvenal Acosta, Humanities & Sciences Dean
FACULTY PROGRAM CHAIRS_
Mark Donohue, Architecture (BArch) Chair
Cathrine Veikos, Interior Design Chair
Nataly Gattegno, Architecture (MArch) Chair
Amy Williams, Fashion Design Chair
Russell Baldon, Furniture Chair
Rachel Berger, Graphic Design Chair
David Asari, Graphic Design Assistant Chair
Owen Smith, Illustration Chair
Sandrine Lebas, Industrial Design Chair
Kristian Simsarian, Interaction Design Chair
Nathan Shedroff, MBA in Design (DMBA)
Programs Chair
Tim Smith, MBA in Design Strategy
Associate Chair
Susan Worthman, MBA in Design Strategy
Associate Chair
William Semmes, MBA in Strategic Foresight
Associate Chair
Jon Sueda, MFA in Design Chair
Rick Vertolli, Animation Chair
Chris Platz, Animation Assistant Chair
Nathan Lynch, Ceramics Chair
Susanne Cockrell, Community Arts Chair
Rob Epstein, Film Co-Chair
Brook Hinton, Film Co-Chair
Clifford Rainey, Glass Chair
Christina La Sala, Individualized Studies Chair
Marilyn da Silva, Jewelry/Metal Arts Chair
Linda Geary, Painting/Drawing Chair
James Gobel, Painting/Drawing
Assistant Chair
Jessica Ingram, Photography Chair
Michelle Murillo, Printmaking Co-Chair
Thomas Wojak, Printmaking Interim Co-Chair
Brian Conley, Sculpture Interim Chair
Deborah Valoma, Textiles Chair
Ted Purves, Graduate Program in Fine
Arts Chair
Ranu Mukherjee, Graduate Program in Fine
Arts Assistant Chair
Julian Carter, Critical Studies Chair
Jordana Moore Saggese, Visual Studies
Faith Adiele, Writing and Literature
Interim Chair
Leigh Markopoulos, Graduate Program in
Curatorial Practice Chair
Tirza Latimer, Graduate Program in Visual
and Critical Studies Chair
Matt Silady, MFA in Comics Chair
Gloria Frym, MFA Program in Writing Chair
Melinda de Jesús, Diversity Studies Chair
KC Rosenberg, First Year Program Chair
INTERDISCIPLINARY FACULTY GROUPS_
Group 1_ Fine Arts: Sculpture, Glass, Ceramics,
Jewelry/Metal Arts, Textiles
Curtis Arima Mia Fever
Julie Caffey Nathan Lynch
Brian Conley Ted Purves
Tammy Rae Carland Clifford Rainey
Marilyn da Silva Deborah Valoma
Josh Faught
Group 2_ Fine Arts: Film, Animation, Photo
Rob Epstein Andrew Lyndon
Brook Hinton Christoph Steger
Jessica Ingram Rick Vertolli
Chris Johnson
Group 3_ Humanities & Sciences: Writing, Writing &
Literature, Visual Studies, Visual Critical Studies, Critical
Studies, Science, Diversity Studies, Curatorial Practice,
Comics
Juvenal Acosta Tirza Latimer
Faith Adiele Bill Littman
Kate Angelo Leigh Markopoulos
Julian Carter Christine Metzger
Melinda de Jesus Matt Silady
Gloria Frym Jordana Saggese
Group 4_ Architecture: Architecture, Interior Design
Amy Campos Judy Krasnick
Mark Donohue Andrew Kudless
Thom Faulders Jonathan Massey
Nataly Gattegno Catherine Veikos
Group 5_ Fine Arts: Painting, Community Arts,
Printmaking, Individualized, First Year Program
Susanne Cockrell Christina La Sala
James Gobel Michelle Murillo
Linda Geary KC Rosenberg
Jordan Kantor Thomas Wojak
Group 6_ Design: Graphic Design, Industrial Design,
Interaction Design, MBA Design Strategies
David Asari Colin Owen
Rachel Berger Nathan Shedroff
Haakon Faste Kristian Simsarian
Sandrine Lebas Tim Smith
Emily McVarish Jon Sueda
Paul Montgomery Pam Zahedani
Group 7_ Design: Fashion, Furniture, Illustration
Russell Baldon Corey Jones
Donald Fortescue Owen Smith
Lynda Grose Amy Williams
BOARD OF TRUSTEES_
Simon J. Blattner Lorna F. Meyer
Tecoah P. Bruce Ann Morhauser
C. Diane Christensen Timothy Mott
Catherine Courage Steven H. Oliver
Susan M. Cummins F. Noel Perry
Patricia W. Fitzpatrick Nathan E. Savin
Nancy S. Forster Alan L. Stein
M. Arthur Gensler, Jr., Judith P. Timken
FAIA John S. Wadsworth, Jr.
Maria Giudice Asher Waldfogel
Emma J. Goltz Kay Kimpton Walker
Ann M. Hatch Vinitha J. Watson
Nancy Howes Calvin B. Wheeler, M.D.
George F. Jewett Carlie Wilmans
Byron D. Kluth, FAIA Ronald C. Wornick
LEED LP Mary L. Zlot
Joyce B. Linker
ALUMNI ADVISORS_
Anna Acquistapace Chris McCall
Anushe Babar Steven Miller
Iris Charabi- Ardy Sobhani
Berggren Zachary Scholz
Kari Marboe
STAFF, SHOPS AND ADMINISTRATIVE
COLLABORATORS_
Academic_
Judy Krasnick, Architecture Assistant Director
Pam Zahedani, Design Assistant Director
Julie Caffey, Fine Arts Assistant Director
Kate Angelo, Humanities & Sciences
Assistant Director
Oakland Shops and Studios_
Seth Augustine John Poole
Benjamin Bracamonte Dustin Smith
Tony Esola Stacy Speyer
Lance Fraser Natalie Trujillo
Josef Jacques Chano Uribe
Em Meine Hillary Wiedemann
Craig Petey
San Francisco Shops and Studios_
Serena Cole Andrew Maxwell-Parish
Aimee Graham Zane Murray
Charlie Leese Chris Parsell
Michele Marti Yvie Raij
Enrollment Services_
Jerry Allen Peg Leary
Scott Cline Sheri McKenzie
Noel Dahl Robynne Royster
Student Affairs_
Curtis Adamson Virginia Jardim
Marianne Beck Jessica McMillan
Courtney Chung George Sedano
Janeece Hayes Jeannine Szamreta
Operations_
Noah Bartlett Zane Murray
Rebekah Eisenberg Keith Stiver
Lisa Jonas Peter Sutton
Aaron McKenzie
ETS/Library Services_
Teri Dowling Hillary Wiedemann
Todd Larson Bobby White
Cian Phillips Michelle Ziegmann
Marketing/Communications
Chris Bliss Becky Ruden
Laura Kenney Meghan Ryan
STUDENTS_
San Francisco Student Group_
Vivek Shah, IXD
Paulina Berczynski, MFA Social Practice
Hannah Kim, Graphic Design
Carolina Magis Weinberg, MFA & VCS
Ebun Alugbin, MArch Alum
Mitchell Price, BArch
Matt Pearson, MFA Design
Angela Lee, Illustration
Forrest McGarvey, MFA fine arts &
MA visual critical studies
Leslie Greene, Industrial Design
Sabrina Florence, Interior Design
Jiayun Ong, Industrial Design
Gabriel Ascanio, Architecture
Gina Bugiada, MArch
Sam Bertain, Industrial Design
Kathryn Gentzke, MFA Social Practice
Oakland Student Group_
Justin Chin, Animation
Tanya Poovaiah, Animation
Sara Butterfield, Painting
Zhiyu Xue (Reaji), IXD
Kyung Chyun, Illustration
Chase Kumasaka, Animation, Chimera Leader
Cynthia Santos, Animation
Tammy Berdichevsky, Sculpture
Trevi Pendro, Jewelry/Metal Arts
Tanya Gayer, MA Curatorial & VCS
Adan Romo
Cynthia Navarro, Illustration
Veronica Jackson, VCS
Nimeela Daripineni, Industrial Design
Gabriele Dow, MFA Creative Writing
Jenny Rosen, Ceramics
Shelley Carr, MA Curatorial Practice
Zoe Yuan, Jewelry/Metal
Robyn Willson, Fashion
Hubert (Hao-Yu) Wang, Film
And many, many more…
PHOTO CREDITS_
Section 5.0
Heath Ceramics: Mariko Reed
Lick-Wilmerding High School: Tim Griffith
Exploratorium: Bruce Damonte
Bullitt Center: Nic Lehoux
SECTION TITLE _ SECTION NUMBER
CALIFORNIA COLLEGE OF THE ARTS
2010–2015 STRATEGIC PLAN THEMESDREAM BIG_ CCA is a place for people who want to make a difference in the world. Our values are rooted in the Arts and Crafts movement, which emphasized the power of art and design to make a positive impact on society. The San Francisco Bay Area has an important history of diverse social movements, innovation, free thinking, and risk taking. This convergence of compelling forces is embodied in our institution and guides our educational mission.
CONNECT COMMUNITIES_ CCA values a system of connections that form the basis of resilient and dynamic social and learning ecologies. We seek to strengthen relationships among stakeholders: faculty, staff, trustees, alumni, students, and our students’ families. CCA intends to further develop partnerships with our local neighbors as well as with national and global educational institutions, nonprofits, professional organizations, industry, and government.
CULTIVATE DIVERSITY_ CCA is committed to reflecting and serving the diverse populations of the San Francisco Bay Area. The wealth of knowledge, experience, and perspectives here creates incalculable cultural energy, enriching CCA’s conversations, curriculum, and community. We are committed to enhancing this diversity, ensuring access to opportunities, and preparing our graduates for an increasingly complex global society.
LEAD RESPONSIBLY_ Responsible administrative and faculty leadership is based on a shared identity as an institution and a clear vision for the future. CCA’s goal is to further empower our community’s innate ingenuity toward creating realistic, honest, and appropriate solutions to the challenges we face
During the preparation of this strategy, the underlying aspect of continual change and agility was discussed with the CCA Community. As a direct response to those discussions, this plan acknowledges that change has always impacted the College, and it has consistently adapted to both internal and external change. As such, we have established a sixth principle, which seeks to make overt the qualities that were unstated in prior documents.
FOSTER EXCELLENCE_ People are inspired by an educational environment that stretches minds to new heights. CCA challenges everyone in our community to create significant work in an environment of world-class academic and artistic excellence. CCA supports learning experiences in all contexts, from the classroom to the studio to the community. We encourage the exploration of broad and deep interests, and the balancing of theory and practice.
EMBRACE CHANGE_ Since our foundation in 1907, CCA has always evolved, responded, and reacted to the internal and external changes confronting it. This is the behavior of an institution that must continue to act despite potentially limiting resources and externalities that may cause it to question itself. This is an underlying quality of CCA, and part of the community expression that has driven our community for over a century—the underlying embrace of change—whether in seeking change in ourselves and our communities, or responding to the things that change around us.
top related